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does anybody use shake with truelight trying to display dpx log files as final film projection result?
we use truelight and we calibrated our monitors with a blueeye2 color probe from Lacie.
The only issue i have is that truelight in shake has just some general presets and i would like to have presets for each film type (negative and positive)
how do you guys make sure that what you see is what you get in the theatre projection?
thank you
adrian cruceru
digital FXadi wrote:does anybody use shake with truelight trying to display dpx log files as final film projection result?we use truelight and we calibrated our monitors with a blueeye2 color probe from Lacie.
The only issue i have is that truelight in shake has just some general presets and i would like to have presets for each film type (negative and positive)
how do you guys make sure that what you see is what you get in the theatre projection?
thank you
adrian cruceru
digital FXThe Truelight version which ships with Shake is not the “full” version and only represents a very small fraction of what Truelight is actually capable of. A full on Truelight calibration suite includes the cube maker which enables you to create your own cubes. Contact Filmlight for more details.
This includes more stock presets for neg, print, monitor and projection as well as a series of tools, both visual and cli for tweaking your results into perfection. But the true power of Truelights lies in no using the presets but creating your own. There’s a strip available from Filmlight containing all of the patches Truelight requires read for a full calibration. Rolling those strips out on your Arri on say 44 gives you a neg to profile. Striking a print of that neg on say 93 gives you a print to profile. Displaying the print on your reference film projector gives you the projector profile. And lastly using the Truelight probe (monitor/projector) to profile your display/dlp gives you your source monitor profile. Truelight then can track the transformation of colour from one medium through another to your final projection with fairly high accuracy.
A few caveats. Cubes are designed for one chain of colour transformations. One display, one type of neg developed at one lab, one print struck and developed on one kind of printer at one lab and projected on one projector. That’s when they are at their most accurate. Change your neg type, bets are off. Change to 83, all bets are off. Change from a bell4 to a bell6 – nix. So cubes are not perfect. But they are a giude. You keep profiling, keep updating.
Second, if you’re at a large installation – generating a “Good enough” lut which you use for the bulk of machines coupled together with one workstation and reference monitor/projector which is calibrated as best as humanly possible is arguably a smarter deployment.
Regardless good luck, and in answer to your question – we use Truelight, both in hardware via the Truelight SDI box and in software via Shake and Baselight.
Chris
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Chris Noellert
Senior Flame / Digital Post Technical Director / Prima donnaNordiskfilm Post Production Stockholm
(Formerly Filmteknik/Frithiof Film to Video. AB)
Tulvaktsvagen 2
115 40 StockholmTel: +46 8 450 450 00
Fax: +46 8 450 450 01
Dir: +46 8 450 450 17
Mob: +46 7 024 616 31
AIM: cmnoellertReel: http://se.nordiskfilm-postproduction.com/movieviewer.aspx?movie=Video_250018.mov
Web: http://www.nordiskfilm-postproduction.comwe’re a small company just starting to do vfx work on 2k log files. i’m discussing with filmlight about this. Maybe buying a color probe and the full license will ensure everything looks corect on our display.
Just one tiny question: what do you use for 2k full frame display? 9cause i hate LCDs and CRTs at 30″ or more i could not find)
thank you
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